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CHRISTMAS MUSIC - Musical Advent Calendar 2011 (The)
JEAN-JOSEPH MOURET
1.
Suite de Symphonies, "Sinfonies de Fanfares"
1:50
Solo: Franz Troster Soloist
ANDREAS HAMMERSCHMIDT
2.
Machet die Tore weit
1:44
Solo: CantArt Ensemble
Chamber: CantArt
KATHERINE DAVIS
3.
The Little Drummer Boy, "Carol of the Drum" (arr. for orchestra)
3:22
Solo: Berlin Polizei Orchester Ensemble
Chamber: Berlin Polizei Orchester
JOSEPH GABRIEL RHEINBERGER
4.
Organ Sonata No. 11 in D minor, Op. 148 (arr. for violin and piano)
4:08
Solo: Katja Huhn Soloist
BRUNO COULAIS
5.
Vois sur ton chemin
2:14
Solo: Stuttgart State Opera Children's Chorus Choir
Choral: Stuttgart State Opera Children's Chorus
JOHN RUTTER
6.
Child in a Manger (arr. J. Rutter)
2:23
Solo: Madchenkammerchor a St. Raphael Gymnasium Choir
Choral: Madchenkammerchor a St. Raphael Gymnasium
TRADITIONAL
7.
Freu dich, Erd und Sternenzelt
1:41
Solo: Ligamentum vocale Choir
Choral: Ligamentum vocale
ANDREA FIGALLO
8.
Christmas Lullaby
1:39
Solo: Junger Kammerchor Baden-Wurttemberg Choir
Choral: Junger Kammerchor Baden-Wurttemberg
JOHN FRANCIS WADE
9.
Adeste fideles (O Come All Ye Faithful) (arr. for brass)
2:19
Solo: Royal Concertgebouw Orchestra Brass Ensemble
Chamber: Royal Concertgebouw Orchestra Brass
RENE KOLLO
10.
Weihnachtsfriede
3:59
Solo: Westerwaldchor Wirges Choir
Choral: Westerwaldchor Wirges
HECTOR BERLIOZ
11.
L'enfance du Christ, Op. 25
4:47
Solo: Pietro Alessandro Guglielmi Chamber Orchestra Orchestra
Orchestra: Pietro Alessandro Guglielmi Chamber Orchestra
FRANZ LISZT
12.
Ave Maria (II), S38/497
2:17
Solo: Juliane Banse Soloist
TRADITIONAL
13.
Hort der Engel helle Lieder (Angels We Have Heard On High)
2:13
Solo: Rhineland Palatinate Youth Choir Choir
Choral: Rhineland Palatinate Youth Choir
PHILIPP NICOLAI
14.
Wachet auf, ruft uns die Stimme
3:31
Solo: Marcus Watta Soloist
MARJORIE MARX
15.
When the Children Fell Asleep
3:30
Solo: Marx Rootschilt Tillermann Ensemble
Chamber:Marx Rootschilt Tillermann
TRADITIONAL
16.
Maria durch ein Dornwald ging
3:08
Solo: Regina Kabis Soloist
Conductor: Raimund Hug
Chamber: Freiburger Spielleyt
GEORGE FRIDERIC HANDEL
17.
Chaconne in G major, HWV 435 (arr. for brass quintet)
4:35
Solo: Royal Concertgebouw Orchestra Brass Ensemble
Chamber: Royal Concertgebouw Orchestra Brass
CAMILLE SAINT-SAËNS
18.
Oratorio de Noel, Op. 12
3:52
Solo: Daniel Schreiber Soloist
19.
Pastorale [CD93.279]
3:59
Solo: RSO barock Ensemble
Chamber: RSO barock
20.
O Holy Night
3:35
Solo: Anon Soloist
TRADITIONAL
21.
Lieb Nachtigall, wach auf!
2:21
Solo: Cantus Novus Ulm Choir
Choral: Cantus Novus Ulm
PETER CORNELIUS
22.
Weihnachtslieder, Op. 8
2:29
Solo: Andreas Bongard Soloist
Choral: Munchweiler Ex-semble Chamber Choir
23.
Cantico delle creature [CD93.279]
1:51
Solo: Torsten Laux Soloist
24.
O du frohliche
2:23
Solo: Gächinger Kantorei Stuttgart Choir
Choral: Gächinger Kantorei Stuttgart
Notes
Dvorák: Symphonies Nos 7 and 8 – Stuttgart Radio Symphony Orchestra, Sir Roger Norrington
Roger Norrington’s journey through the romantic symphony continues with two popular scores from the pen of Antonín Dvorák. Dvorák began work on the Seventh Symphony on 13 December 1884, after having heard a performance of the new, Third Symphony of his friend Brahms. It is the most typically romantic symphony Dvorák wrote, anticipating Brahms’s own Fourth Symphony (which would premiere six months later) in its form, scope, and sense of heroic tragedy. Apart from manifesting the Brahmsian influence, the new symphony by Dvorák would also be an expression of his profound nationalism. The composer wrote to one of his friends: ‘I am now busy with this symphony for London, and wherever I go I can think of nothing else. God grant that this Czech music will move the world!’ Four years later, Dvorák would turn once again to the symphonic form, writing his Eighth Symphony in the space of two-and-a-half months, from 26 August to 8 November 1889. Not stormily romantic as is its predecessor, the Eighth Symphony is cheery and draws its inspiration more from the Bohemian folk music which Dvorák loved.
Both works provide Norrington and his SWR ensemble with ample opportunities to express their unflagging virtuosity (note especially the brass section, which is given a thorough work-out!).
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